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Michael Moore has dropped off the radar in recent years – despite being one of the few left-wing pundits to accurately predict a President Trump – so this documentary has been pitched as his return to the big stage covering the big issues. Which he does: unfortunately he can’t quite figure out how to make an actual movie out of them. Instead, this is a jumbled collection of various talking points that’s really good at reminding you of what left-wing social media in the USA was outraged about six months ago. That’s not to say it’s solely of use as a historical document, as there actually is a decent film (or television feature) buried under Moore’s mea culpa’s for hanging out with right-wing types for laughs years ago and trips around the US checking in with various fired-up political candidates and school shooting survivors. Unsurprisingly, this better, buried film kicks in when Moore returns to his home town of Flint, where thanks to political corruption and greed, the drinking water ...

The original Halloween invented the slasher genre: so long as knife-wielding murder maniacs are profitable, Michael Myers will never really die. So the hook with this particular version of Halloween – one of close to a dozen sequels to John Carpenter’s still chilling original – is that it’s swung a sharp blade real hard and cleared away all the crud. All the other films never happened: this film is the one true sequel.  Trouble is, this is the second time the Halloween series has pulled that trick (anyone remember Halloween: H20 ?). And while sweeping away all the other films and everything that came with them (seems Laurie wasn't Michael's sister after all) should in theory set the scene for a whole new round of terror, in this case what that really means is that director David Gordon Green is just doing the first film all over again.  Once again Michael Myers / The Shape breaks out of a mental hospital; once again he goes on a murder spree; once again he ends up focusing o...

Bikies! They're topical, they're scary, they're misunderstood and up to no good: it's a wonder we haven't seen more Australian movies about them. Then again, maybe people watched that mini-series Bikie Wars: Brothers in Arms from a few years back, because if anything could make bikies look dull, that did it. 1% doesn't exactly forge a new path for the Bikie genre, but it doesn't have to: sometimes a good story well told is enough. For the last few years Perth bikie club The Copperheads has been run by the relatively thoughtful Paddo (Ryan Corr). He’s got big plans for the club, looking towards a future based on working together with their rival gangs to reap the rewards of organised crime. Two things stand in his way; one is his brother Skink (Josh McConville), whose bungled attempt to move into drug dealing forces Paddo to make a deal with enemy Sugar (Aaron Petersen). The other is Knuck (Matt Nable, who also wrote the script), original leader of The Copp...

Ryan Gosling is just ugly enough not to have to act. A more conventionally handsome performer – Armie Hammer, say, or Jon Hamm five years ago – couldn’t get away with scene after scene of blank expressions: it’d be too much like looking at a mannikin. But Gosling, while obviously a very attractive man, is just the right side of perfection to be both a major movie star and someone audiences can find things in when he’s seemingly giving nothing back. For most of First Man , not giving back is the point. There’s little doubt that Neil Armstrong (Gosling) was a notoriously private man whose interior landscape was as unknowable as the Moon’s surface - a comparison this film does not avoid making. Which should make him an extremely frustrating subject for a biopic in 2018, at time when even superhero characters are required to have emotional complexity and an ability to speak about their feelings. So for much of the film director Damien Chazelle indulges in some slight-of-hand, focusing on t...

The best parts of Venom are the parts you already know are going to be the best parts, aka every scene where Tom Hardy acts nuts. Which is almost but not quite all of his scenes; in one of the many ways in which this movie is slightly smarter than it initially seems, Eddie Brock (Hardy) starts and finishes the film as a perfectly normal and well-adjusted man. It's only every scene in between that he acts like a loopy drunk on the verge of freaking out. That's because after that first scene he has a confrontation with billionaire (and secretly evil dude) Carlton Drake (Riz Ahmed) after which he rapidly loses his reporting job and the love of his previously adoring girlfriend Anne (Michelle Williams under a distracting wig). After that Hardy plays him as a good-natured dim-bulb drunk; it's a perfectly reasonable character choice. And then, while researching a tip-off into Drake's scheme to kidnap the local homeless and use them as guinea pigs in a series of lethal experi...

Gus Van Sant’s biopic of US comedian John Callahan is named after Callahan’s memoir, which is turn is named after the punchline of perhaps his most famous cartoon: a couple of cowboys chasing a villain down find an overturned wheelchair and… you get the idea. It’s a sharp skewering of clichés, the kind of cartoon that’s bound to offend, and this biopic contains pretty much none of that spirit.  That's not exactly a slam on the finished product. What Van Sant serves up is a warm-hearted and kind-spirited film that finds it in its heart to treat just about everyone with thoughtfulness and forgiveness. Joaquin Phoenix's performance as Callahan does an excellent job of capturing his youthful naivety (though Phoenix is probably past playing 21 year olds, as that's the age Callahan was at his accident) alongside the essential optimism that surfaces once he shrugs off the booze. As for why Callahan made the darkly funny cartoons that made him famous? Well, this never really digs i...

By 1959, Sydney's tram network was in disrepair. Lines had been closing down since the late 1930s; despite public opposition, removal of the service was government policy thanks to congested streets, competition from buses and private cars, and a general lack of investment. Deliberately run down and rickety, the entire network - once the largest in Australia and one of the largest in the world - would be gone by 1962. Sydney 1959 - specifically, the lead-in to Christmas - is also when Bruce Beresford's latest film Ladies in Black is set. It's a sunny, polished, feel-good tale centered on the staff of the high-class department store Goode’s (think David Jones), where the floor staff – named the “ladies in black” – guide the women of Sydney in their fashion needs. For sixteen year-old Lisa (Angourie Rice), it’s a holiday job between high school and (she hopes) university; for Fay (Rachael Taylor) it’s love that’s paramount (and the Aussie blokes aren’t mea...